Rather helpfully, Hazel explains in her introduction, some of what a “vibrant” watercolour is. To summarise, it’s about the use of colour, often unexpected colour and in unconventional ways. She recounts, as a child, wondering why some artists painted portraits with white or green faces and of coming to understand how painting was more than simple representation – an artistic maturity, as it were.
The subtitle also provides a clue: How to paint with drama and intensity. This is, in short, a book mainly about working with and revelling in colour. It’s about seeing, not the obvious, the superficial, but the true character of any subject, whether it’s a person, an animal or any inanimate object. On top of colour, there are also shape and form and these can be manipulated, along with the colours, to tell the viewer more about what you’re painting than simple representation. A photograph will record a subject and allow the onlooker to interpret it for themselves. The job of an artist is to shape the response and convey a personal view. At its extreme, this leads to abstraction, where the response is purely emotional but, here, it’s also about the object itself as much as the pure image. It’s a hard topic to explain in words because it’s so inherently visual, but think of it as poetry rather than prose.
This is an approach that’s been covered before, but Hazel’s sheer enthusiasm will carry you along and almost certainly open your eyes to, if not a new, then certainly an enhanced way of seeing.
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